Translation Theories Applied to Literary Translations

Translation Theories Applied to Literary Translations

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1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel Beloved Based on Catford’s Translation Shifts Theory

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摘要

长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

关键词

翻译转换理论；《宠儿》；黑人英语

Abstract

Beloved is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the Beloved of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of Beloved from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking Beloved as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

Key words

Translation Shift Theory; Beloved; Black English

Introduction

The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named Beloved with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.

In order to have a better understanding of Beloved and Translation Shifts Theory, the author study the Chinese translation of Beloved(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of Beloved. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of Beloved from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

Introduction to Beloved

In this part, the author will roughly introduce the main content of the novel Beloved and analyze the linguistic features of the text , laying a solid foundation for the following steps.

Main Content

Beloved tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

Linguistic Characteristics

The selected text used for this report is the literary novel Beloved and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.

Language features are determined by the specific group, culture, and context. Beloved, written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics: In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns. Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

Theoretical Framework

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of beloved's translation strategies.

About Catford’s Shifts Theory

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.

Introduction to Level Shifts

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.

Introduction to Category Shifts

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).

Feasibility

In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

Level Shifts Applied in the Version

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.

Tense and Aspects Shifts

Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

Shifts between Plurality and Lexis

Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

Category Shifts Applied in the Version

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

Structure Shifts

In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)

4.2.1.1 Shifts from Active Voice to Passive Voice

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

4.2.1.2 Shifts from Affirmation to Negation

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

Example 9

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT9: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日， 而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

Class Shifts

Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

4.2.2.1 Shifts of Prepositions

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

4.2.2.2 Shifts of Adjectives

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

4.2.2.3 Shifts of Nouns Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一 坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

Unit Shifts

According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.

4.2.3.1 Shifts from Words to Phrases or Clauses

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

4.2.3.2 Shifts from sentence to sentence groups

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

Intra-system Shifts

Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

Conclusion

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

Major Findings of the Study

After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

Limitations of the Study

The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

References

[1]潘岳、雷格. 宠儿[M]. 北京：中国文学出版社，1996.

[2] Vinay J P, Darbelnet J. Translation and activism[M]. Paris: Didier, 1958.

[3] Catford J C. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965: 85－91.

[4] 穆雷．评卡特福德的《翻译的语言学理论》[J]．外语教学，1990(02)：37-42．

[5] Halliday M A. On Grammer[M]. London: Continuum International Publishing, 2005.

[6] 林铃．卡特福德翻译转换模式下的翻译过程研究[J]．语文学刊(外语教育与教学) ，2009(05)：74-75，82．

[7] 毛菁菁. 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J]. 兰州教育学院学报, 2015, 31(3): 145-146.

[7] 连淑能. 英汉对比研究[M]. 北京: 高等教育出版社, 1993: 90.

[8] 仲晶瑶. 从动词特性看英汉介词[J]. 黑龙江教育学院学报, 2003,(3): 84-85.

付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.

Fu Hongyan，付红岩，Hunan Normal University,China

abstract

The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.

key words

“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature

摘要

《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。

关键词

“信达雅”；翻译对比；口语文学

Introduction

Introduction to Yan Fu

Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

Introduction to The Adventure of Huckleberry Finn

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

The key points of translation

The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)

The main characters of the context

The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child. Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have. In this paper, we use some excerpts from Chapter 16 of the original work as examples to compare in detail the translation techniques and effects of the two translations, based on the theoretical principle of translating with faith and elegance. In this chapter, Huck and Jim miss their destination in Cairo because they do not know the way, and Huck cleverly tricks two white men who are in pursuit of black slaves. The conflict within Huck’s heart is vividly and carefully portrayed in his attitude toward Jim.

Further comparative analysis

excerpt 1

…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that. Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。 Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。 This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.

excerpt2

‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’ Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。” Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。” Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.

excerpt3

‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’ Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。” Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。” Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.

excerpt 4

We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still. Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。 Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。 When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.

Conclusion

There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.

Reference:

Cuddon, J. A(1997). A Dictionary of Literary Terms. Chatham: W&J Mackay Limited. Rubinstein, Annette T. American literature: Root and Flower, Significant Poets. Tylter, Alexander Fraser(2007). Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press. Twain Mark(1944). The Adventure of Huckleberry Finn. Beijing: Foreign Language Press. Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House. Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press. Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press. Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.

3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory

Theor_App_Lit_EN_3

Abstract

Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.

Key words

Key Words:Bian Cheng; literary translation; Creative treason

摘要

创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。

关键词

关键词：《边城》；文学翻译；创造性叛逆

Chapter One Introduction

Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

1.1 Research Background

For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

1.2 Research Significance

Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

Chapter Two Literature Review

Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad

Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad

Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

Chapter Three Brief Introduction of Creative Treason

Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason

Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason

Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

Chapter Four Brief Introduction of Bian Cheng

Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen

Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng

Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

Chapter Five On the Creative Treason in English Versions of Bian Cheng

The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation

In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication

In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。 Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982) “观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)! Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982) During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings. In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization

Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。 Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981） Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography. It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)! Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009） The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation

Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。 Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982) Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981） "翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity. Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)! Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981） Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009) In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission

Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation

Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987) Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987) Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations. 

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission

Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987) Translation:不译(Ching Ti & Robert Payne,1982) In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。 Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981） “梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

Chapter Six Conclusion

Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking Le Rouge et le Noir as an example

摘要

女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

关键词

女性主义翻译理论；《红与黑》；翻译策略；司汤达

Abstract

Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on Le Rouge et le Noir mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s Le Rouge et le Noir as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

Key words

Feminist translation theory;Translation theory;Le Rouge et le Noir;Stendhal

Introduction

Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in Le Rouge et le Noir. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of Le Rouge et le Noir from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

Research Background

Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

Significance of the Research

Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

About the Translators and their Chinese Translation Versions

Le Rouge et le Noir as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel Le Rouge et le Noir occupies a very important position in the history of Chinese translation. Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of Le Rouge et le Noir was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that Le Rouge et le Noir is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: Le Rouge et le Noir by Mr. Zheng Kelu (published by Commercial Printing House) and Le Rouge et le Noir by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's Selected Preface to French Short Stories won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and History of French Literature (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of The Complete Works of Balzac and Memoirs of De Gaulle. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as Le Rouge et le Noir. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

Theoretical Framework

Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

Origin and Development of Feministe Translation Theory

With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

Strategies of Feminist Translation Theory

In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective

Le Rouge et le Noir is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

Footnoting

“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions. “Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

Supplementing

"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel Le Rouge et le Noir, Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

Hijacking

Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

Conclusion

Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

Major Findings of the Study

Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

Limitations of the Study

The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

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